Live albums and reissue projects often do much to shape the broader idea we have about a musical legacy, and this year was no different — with impressive sets devoted to Ray Charles, the Beach Boys, Bill Wyman’s Rhythm Kings and the Smiths

The Cure, appearing at this year’s Bestival, offered a fibrous retrospective — tearing its textured later gothy efforts down to a nervy, straight-forward post-punk vibe that recalled the group’s breakthrough triumphs.

by Tom Johnson Ben Folds opened this EP (Speed Graphic refers to the camera seen on the sleeve) with the Cure’s “In Between Days.” While staying true to the Cure’s sound, he managed to inject an extra little dose of his hopeful optimism into the song: It’s just a quality of his soft, youthful voice that he always sounds optimistic,Read More